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The performances which were called the sermons with intonations (Sekkyobushi) and the ballad-dramas of the sermons (Sekkyo joruri) were in vogue through the middle ages into the former part of the modern times in Japan. They were played with Japanese balalaikas (Shamisen) and were sung by accompanying them with the performance of dolls in the theaters (playhouses) and had many audiences in great cities like Kyoto, Osaka and Edo (the old name of Tokyo) especially in the modern times in Japan. Programs were "Sansho-Dayu, " "Oguri-hangan, " "Karukaya" and other religious performances. As the sermons with intonations had conservative elements, they disappeared in the latter period of the modern times, but they were again played at Edo in Kansei era, and they were in vogue in the farmer areas of Edo through Bakumatsu era into Japanese modern times. And they have kept their lives down to Showa era. Since revival, the sermons with intonations have been kept by the main branches of the families named Satsuma especially. I reported the findings on the sermons with intonations with reference to the Satsuma group in this paper. In addition to these problems, I dealt with a part which was often performed in popular "Oguri-hangan" and investigated the strong point of this play-book, and I dealt with the librettoes of "Oguri-hangan" that were narrated by the blind female street singers (Utahime Goze) as words for festivals with the sermons with intonations in Hokuriku erea, Japan.

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